magnificent public buildings in India, and one of the most famous in the world. With its dome of two hundred and ten feet in height, its tropical garden, its mosaics and inscriptions, its marble of white, black, and yellow, its crystals, jaspers, garnets, amethysts, sapphires, and even diamonds, it is the richest and most notable tribute of marital love that has ever been erected. Another monument built in honor of a woman is the famous tower Kootab Minar, the highest pillar in the world, being of red sandstone and two hundred and thirty-eight feet high. It is said to have been built that the king's daughter, from the vantage ground of its high turret, might look out upon the mosque which could be discerned in the distance. Let us revert for a moment to the ancient Hindoo writings and their influence upon the history of Hindoo women. To the religious books of India woman has to-day no personal access. Her religious sacrifices and ceremonies before marriage are with reference to the procuring of a husband. After marriage she may approach the deity, but only in the name of her husband. Him she must revere almost as if he himself were a god. She hopes that in time she herself may be born a man. Anciently there were in India virgins dedicated to the service of the temple and pledged to a life of purity, like the vestal virgins of ancient Rome. In the course of the centuries the custom was degraded; and young women in large numbers became the dancing girls at the temples, and others openly dedicated themselves to a life of shame at the shrines. They are euphemistically termed "God's slaves," but might more properly be spoken of as slaves to the bestial passions of the profligate Brahmans of the temple to which they belong. Dedication of virginity to a popular deity, through his priest, became common. The young woman was said to have been married to the god, and was given over to a life of shame.